نقش‌‌‌روایت بوف کور؛ عشق ناکام و گشودن ابهام ساختاری متن

پژوهش حاضر، گشودن ابهام ساختاری بوف کور را ازطریق روایت کوتاه عاشقانه‌‌ای مورد توجه قرار می‌‌دهد که دارای دو موقعیت است و در هر موقعیت یک کنش به انجام می‌‌رسد؛ کنش موقعیت نخست عبارت است از اینکه پیرمرد قوزکرده‌‌ای‌‌ انگشت سبّابۀ دست چپش را به حالت تعجب بر روی لبش گذاشته‌است و در موقعیت دوم، دختری خم‌‌ شده و گل نیلوفری را به پیرمرد تعارف می‌‌کند. با این دو موقعیت، مناسک عشقی به نمایش گذاشته شده و ارجاع‌‌سازی صحنه عاشقانه به جهان بیرون بر ناکامی دلالت دارد. در متن بوف کور از روایت مذکور با عنوان مجلس بر روی قلمدان یاد‌شده و این مجلس نقاشی در پژوهش حاضر، «نقش‌‌روایت» نامیده می‌‌شود. نگارنده، تبیین نقش‌‌روایت را با طرح این پرسش‌‌ها که نقش‌‌روایت چیست، چه ویژگی‌‌‌‌های برجسته‌‌ای دارد و نقش‌‌روایت بوف کور چگونه در گشودن ابهام ساختاری روایت اصلی اثرگذار است، مورد توجه قرار می‌‌دهد. هدف پژوهش این است که مفهوم برجسته عشق را در این نقش‌‌روایت ازطریق نظام دیداری و برمبنای شکل‌‌زایی تجسمی نشان دهد و این نقش‌‌روایت عاشقانه را به‌‌عنوان ابزاری معرفی کند که گرۀ روایت بوف کور با توجه به عناصر آن باز ‌‌می‌‌شود. برپایۀ مطالعۀ انجام‌‌شده در پژوهش حاضر، می‌‌توان به این تعریف از نقش‌‌روایت رسید: روایتِ تصویری موجز و فشرده که روایتِ اصلی، صورت گسترش‌یافته آن است و در آن عناصری مانند نور، رنگ، فضا، مکان، عمق، سطح، حالت و... که ویژگی‌‌های برجسته متون دیداری هستند، در یک کادر مشخص با ابزار واژه قاب‌‌‌بندی می‌‌شود.

The Blind Owl’s visual narration; the failure of love and resolve of textual ambiguity

Introduction Since the publication of Empson’s book The Seven Types of Ambiguity (1930), Ambiguity was taken into consideration, especially in modern fictionwriting mode; As mentioned (Sahba, 1392: 125) "Ambiguity for the author is one of the best manners in the field of narration and text processing". Blind Owl, as a text with a high structural ambiguity is read much; In reading the text, only the influential force would not be the reader, it should be noted that what the text provides to the reader in terms of the structure and methods of expression or the particular culturalsocial status (ibid; 86), Therefore, opening the ambiguity of narration is a fundamental issue. In this study, with the assumption that visual narration is the possibility that the text gives reader to open up the structural ambiguity, Pencil case painting ofBlind Owl is considered as a Tool that resolves the structural ambiguity of multilevel narrative of it. By asking these questions; what is visual narration, what are its outstanding features and how can it be effective to open up the structural ambiguity of the main narrative, we introduce visual narration as a stylistic instrument in opening the narrative structural ambiguity.   Research Methodology The present study is carried out in two stages; In the first step, by studying the features of the visual text and verbal narrative, we characterize the distinctive features of visual narration and will try to reach a definition of the visual narration. We make the second stage in three sections; First, as a verbal narrative text we read tense, narrator, plot, location and actions. Then, as a visual text, we will examine the surface, depth, space, color, light and mode /gesture. In the following, we will look at the love inside in such a bold way. In the second part, the signs that have been selected and placed in the cover of the Pencil case and highlighted will be discussed in the context of the romance discourse. Finally, in the third section the relationship between the signs of the Pencil case and the examples of the main narrative of the blind owl Will be analyzed and in the definition of the narrator of love as a sacred, supreme and pure, we will see the unification of the signs of the ethereal girl, mother and lakate. Discussions In this visual narration, the narrator is outside of the narrative and the tense is past, It represents two positions that are performed an action in each position; action of the first position is that The old man put his left finger in surprise on his lips and in the second position, a curled girl gives the old man a lilies flower. With these two positions, the rituals of love on display and the referral of the romance scene to the outside world implies failure; Because there is a stream between them. This distance is shown with a spatial dimension, In the continuation of the narrative, heard as a voice, adds to the visualization of painting. The old man’s repellent laughter is a sound sign that is reproduced several times in the text and fit a few characters on each other.  In the semiotics of visual narration’s space, what is striking is the open space without limitation; The girl is on the surface of the painting, so it is prominent and considered and the old man is in the depths of the painting, behind him is a cypress tree and a desert with open nature. This visual narration represents fluid and floating images; The blackdressed girl depicts the mother of the narrator Bugamdasi of the temple of Lingam until the childhood of the lakate and "ethereal daughter", and next to the image of the cypress tree, the river and the flowers of the lilies, there are some meanings from lakate’s hide and seek of childhood to slow rhythmic dance and movement of Bugamdasi. The Curved old man with repellent laughter in the lower layers of the text fit on the father /uncle of narrator, father of lakate and the butcher. The meanings that are united with the other, and ultimately all of these characters form the "self" of narrator.   The semiotic analysis of colors is also significant within the romantic discourse; Three colors are highlighted in this visual narration, including black, burgundy and green. Black color is on the surface of the image, color of the girl’s dress. Presence of the black color is the hidden presence of all the other colors; This color goes on to describe the narrator’s mother clothes of a broader range of colors: olive, lemon, red, golden and shiny. The color of the burgundy symbolizes the meaning of the failures of love in the narrative. Finally, the green color, color of the cypress tree, which lies in the depth of the image, reflects the concept of steady being, despite the failures of love. Conclusion Based on the features we’ve listed for visual narration, we define it as "concise, compact, and dense narrative Which the main narrative is its expanded form and in it elements such as light, color, space, depth, surface, state, etc., prominent features of visual texts, are framed in a specific with the word tool". The visual narration has features the verbal and visual texts of both. In visual reading the reader creates images. In fact, the visual narration resembles an episode within the original narrative, except that the episode is a complement to the original narrative, but visual narration is the basic element and the original narrative can be described as the extended form of visual narration. The visual narration of Blind Owl, two positions and two actions shown in it, simplify the story of the Blind Owl and open its multilayered narrative. In the main narration of the Blind Owl, it is difficult to find the causal relationships, but in the visual narration, the plot can be easily retrieved; The narrator is deprived of the girl’s love and is therefore old and broken. 1       1. Batuli, M. With Yong and Suhrawardi, Tehran: Ettelat, 1999. 2. Bilsker, R. Jung, Translated by Hossein Payandeh, Tehran: Nashre No, 2005. 3.  Prince, G. Narratology: The form and function, Translated by Mohammad Shahba,  Tehran: Minuy Kherad, 2012. 4. Sassanid, F. 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